Category: Lists & Beginner’s Guides (Page 1 of 22)

THE ELECTRONIC LEGAGY OF 1984

1984 saw FM synthesis, sampling and computer controlled systems taking a more dominant role in not just electronic music making but within mainstream pop as well.

The ubiquity of the Yamaha DX7 with its realistic sounds and the dominance digital drum machines meant that inventive electronic sound design would take a backseat. This meant that the otherworldly fascination that had come with Synth Britannia was now something of a distant memory. But despite the popularity of the Emulator at this time for its factory disk derived symphonic strings, brass and choirs, the Roland Jupiter 8 remained the main analogue synth for the likes of THE BLUE NILE and TALK TALK as well as Howard Jones.

While Trevor Horn and his team were well equipped with all the state of the art equipment money could buy for the ZTT releases of THE ART OF NOISE and FRANKIE GOES HOLLYWOOD, OMD and HEAVEN 17 were among those who purchased the Fairlight Series II. SOFT CELL and Gary Numan chose the PPG system while THE HUMAN LEAGUE opted for the Synclavier II.

However, despite all the high tech, the most disappointing record of the year was undoubtedly ‘Hysteria’, THE HUMAN LEAGUE’s lukewarm follow-up to ‘Dare’ which departed from the supreme synthpop formula of its predecessor. ‘Dare’ producer Martin Rushent had left the troubled sessions following disagreements with the band but as the recording continued to be prolonged, his replacement Chris Thomas soon followed him through the door.  Hugh Padgham who had worked with Phil Collins on his key hit recordings was drafted in to finish the record.

Although the excellent ‘Louise’ saw the estranged couple from ‘Don’t You Want Me?’ cross paths again a few years on, the laudable attempt at political observation and guitar-driven dynamics ‘The Lebanon’ confused fans. Meanwhile the remainder of the album was underwhelming, with the reworked version of ‘I Love You Too Much’ sounding a poor shadow of the dynamic Martin Rushent original which had premiered on the Canadian ‘Fascination! EP in 1983.

Those pop acts who had topped the UK charts in 1983 like CULTURE CLUB and SPANDAU BALLET also suffered from lacklustre follow-ups and were superseded by the rise of WHAM! Despite the absence of a new studio album, DURAN DURAN managed to score a No1 with ‘The Reflex’ and a No2 with ‘The Wild Boys’, both in a creative union with Nile Rodgers while making an impact in 1984 was Nik Kershaw.

The split of YAZOO the previous year led to Alison Moyet issuing her first solo album ‘Alf’ but the new Vince Clarke project THE ASSEMBLY lasted just one single ‘Never Never’ featuring the vocals of Feargal Sharkey. Comparatively quiet in 1984, NEW ORDER released their most commercial single yet in ‘Thieves Like Us’.

With bands like A FLOCK OF SEAGULLS, THE PSYCHEDELIC FURS and U2 having achieved success in North America with a more rock derived template, the lure of the Yankee Dollar steered SIMPLE MINDS towards that less artful bombastic direction with the ultimately flawed ‘Sparkle In The Rain’. The purer synthesizer sound was now less desirable in terms of Trans-Atlantic marketability and pressure was put on acts to use more guitar and live drums, something that would become even more prominent in 1985.

So until then, here are 20 albums selected by ELECTRICITYCLUB.CO.UK seen as contributing to the electronic legacy of 1984. Listed in alphabetical order, there is a restriction of one album per artist moniker


ALPHAVILLE Forever Young

German trio ALPHAVILLE broke through in the UK with a Zeus B Held remix of ‘Big In Japan’ and while that version is not included on the ‘Forever Young’ album, the original held its own alongside songs like ‘Sound Like A Melody’. Meanwhile, the poignant title song has since become an evergreen anthem which has since been borrowed by THE KILLERS and JAY-Z!

‘Forever Young’ is still available via Warner Music

https://www.alphaville.earth/


THE ART OF NOISE Who’s Afraid Of?

From the off, THE ART OF NOISE were rattling cages. ‘Beat Box’ was the track which scared KRAFTWERK enough for them to delay the release of their ‘Technopop’ album and rework it as the underwhelming ‘Electric Cafe’. The crazy staccato sample cacophony of ‘Close (To The Edit)’ still sounds as fresh and mad as ever while ‘Moments In Love’ heralded a new age in mood music.

‘Who’s Afraid Of?’ is still available via ZTT

https://www.facebook.com/artofnoiseofficial/


BLANCMANGE Mange Tout

On the back of hit singles in ‘Blind Vision’ and ‘Don’t Tell Me’, the brilliantly titled second BLANCMANGE album ‘Mange Tout’ became their biggest seller. Another surprise came with a melodramatic cover of ABBA’s ‘The Day Before You Came’; considered an odd but daring decision at the time, it was something of a cultural prophecy with ABBA now fully reabsorbed into mainstream popular culture.

‘Mange Tout’ is still available via Edsel Records

http://www.blancmange.co.uk/


THE BLUE NILE A Walk Across The Rooftops

Glum Scottish trio THE BLUE NILE had an innovative deal with Linn, the Glasgow-based high quality Hi-Fi manufacturer where their crisply produced debut ‘A Walk Across The Rooftops’ as used by dealers to demonstrate the sonic range of their products. ‘Tinseltown In The Rain’ and ‘Stay’ got BBC Radio1 airplay and while they were not hits, the artful album was a favourite among the music cognoscenti.

‘A Walk Across the Rooftops’ is still available via Confetti Records

https://www.facebook.com/TheBlueNileOfficial


BRONSKI BEAT The Age Of Consent

When BRONSKI BEAT first appeared, they were nothing short of startling, thanks to their look, melodic synth sound and Jimmy Somerville’s lonely earth shattering falsetto. ‘The Age Of Consent’ used their position as openly gay performers to make important statements such as ‘Smalltown Boy’ and ‘Why’ as well as the anti-consumerist ‘Junk’ and the self-explanatory ‘No More War’.

‘The Age Of Consent’ is still available via London Records

https://www.facebook.com/officialjimmysomerville


CABARET VOLTAIRE Micro-Phonies

Featuring the blissful ‘Sensoria’, the second Some Bizzare long playing adventure of CABARET VOLTAIRE saw Stephen Mallinder and Richard H Kirk at possibly their most accessible yet. With a Fairlight CMI now taking over from the previous tape experiments alongside the punchy rhythmic backdrop, tracks like ‘Do Right’ and ‘Slammer’ exemplified their alternative club direction.

‘Micro-Phonies’ is still available via Mute Artists

https://mute.com/artists/cabaret-voltaire


DEAD OR ALIVE Sophisticated Boom Boom

With Pete Burns now looking like Gina X, it was no big surprising that her producer Zeus B Held was helming DEAD OR ALIVE’s electronic disco direction. A cover of KC & THE SUNSHINE BAND’s ‘That’s The Way’ was the hit breakthrough but there was also mighty sequencer dance tunes such as ‘Misty Circles’ and ‘What I Want’, as well as the Morrissey fronting ABBA serenity of ‘Far Too Hard’.

‘Sophisticated Boom Boom’ is still available via Cherry Pop

https://www.discogs.com/artist/46720-Dead-Or-Alive


DEPECHE MODE Some Great Reward

Despite more adult songs with S&M metaphors about capitalism and doubts about religion, ‘Some Great Reward’ was the last innocent DEPECHE MODE album. With Gareth Jones now taking on a co-production role with Daniel Miller, the sampling experimentation was honed into the powerful metallic pop of ‘Something To Do’, ‘Master & Servant’, ‘If You Want’ and ‘Blasphemous Rumours’.

‘Some Great Reward’ is still available via Sony Music

https://www.depechemode.com/


FRANKIE GOES TO HOLLYWOOD Welcome To The Pleasure Dome

The Trevor Horn produced ‘Welcome To The Pleasure Dome’ was a double album that should have been edited down to a single record but that would have missed the point. Featuring three UK No1 singles in ‘Relax’, ‘Two Tribes’ and ‘The Power Of Love’, FRANKIE GOES TO HOLLYWOOD had their place cemented in musical history, regardless of the radio bannings and controversial marketing stunts.

‘Welcome To The Pleasure Dome’ is still available via ZTT

https://www.hollyjohnson.com/


MANUEL GÖTTSCHING E2-E4

Best known for his work as ASHRA, Manuel Göttsching improvised an extended piece based around an understated Prophet 10 sequence and a gentle but hypnotic backbone as something to listen to on his recently purchased Walkman for an upcoming flight. Influenced by minimalist trailblazers Steve Reich and Philip Glass, the end result was the hour long suite ‘E2-E4’.

‘E2-E4’ is still available via SpaMG.ART

https://www.manuel-goettsching.com


HEAVEN 17 How Men Are

The success of ‘The Luxury Gap’ brought money into HEAVEN 17 and this was reflected in the orchestrally assisted Fairlight jamboree of ‘How Men Are’. “I think it’s an underrated album and that was when we were probably in our most daring and creative phase” said Martyn Ware and that manifested itself on the sub-ten minute closer ‘And That’s No Lie’ and the outstanding Doomsday opener ‘Five Minutes To Midnight’.

‘How Men Are’ is still available via Virgin Records

https://www.heaven17.com/


JEAN-MICHEL JARRE Zoolook

Having been an early adopter of the Fairlight CMI on ‘Magnetic Fields’, Jean-Michel Jarre utilised it further to create an instrumental palette sampled from 25 spoken languages. It also saw the use of notable musicians including Marcus Miller, Yogi Horton, Adrian Belew and Laurie Anderson who lent her voice to the delightfully oddball ‘Diva’. The magnificent highlight was the 11 minute ‘Ethnicolour’.

‘Zoolook’ is still available via Sony Music

https://www.jeanmicheljarre.com/


HOWARD JONES Human’s Lib

‘Human’s Lib’ was the beginning of Howard Jones’ imperial phase, with four hit singles ‘New Song’, ‘What Is Love?’, ‘Hide And Seek’ and ‘Pearl In The Shell’ included on this immediate debut. But there was quality in the other songs with ‘Equality’ sounding like an arrangement blue print for A-HA’s ‘Take On Me’ and the title song touching on the complexities of love triangles!

‘Human’s Lib’ is still available via Cherry Red Records

http://www.howardjones.com/


GARY NUMAN Berserker

After the jazzier overtones of ‘Warriors’, ‘Berserker’ was conceived as “a science alternative album” by Gary Numan as a much more of an electronic proposition. Dominated by the PPG Wave system which had been the heartbeat of FRANKIE GOES TO HOLLYWOOD, ‘My Dying Machine’ aped ‘Relax’ while the rhythmic title song and the exotic ‘Cold Warning’ provided other highlights.

‘Berserker’ is still available via Eagle Records

https://garynuman.com/


OMD Junk Culture

With its embracement of calypso, reggae, indie and mainstream pop, ‘Junk Culture’ was perhaps even more experimental than ‘Dazzle Ships’ and took OMD outside of the Germanic sound laboratory they had emerged from. Known for two slightly inane singles, ‘Locomotion’ put them back into the UK Top5 while ‘Talking Loud & Clear’ only just missed out on the Top10.

‘Junk Culture’ is still available via Universal Music

https://omd.uk.com/


SECTION 25 From The Hip

Co-produced by Bernard Sumner of NEW ORDER, ‘From The Hip’ followed founder member Larry Cassidy’s statement that “you can’t be a punk all your life”. Recruiting vocalist Jenny Ross and keyboardist Angela Cassidy, ‘Looking From A Hilltop’ with its clattering drum machine, pulsing hypnotism and ominous synth lines was the album’s standout while ‘Program For Light’ explored further electronic territory.

‘From The Hip’ is still available via Factory Benelux

https://www.section25.com/


SOFT CELL This Last Night In Sodom

If ‘The Art Of Falling Apart’ was the difficult second SOFT CELL album, ‘This Last Night In Sodom’ was an even more challenging proposition. The thundering percussive cover of ‘Down In The Subway’ was  a metaphor for Marc Almond’s mental state while ‘L’ Esqualita’ provided some fabulous gothic menace alongside the frenetic rush of ‘Soul Inside’, all aided by Dave Ball and his acquisition of a PPG Wave 2.2.

‘This Last Night In Sodom’ is still available via Some Bizzare

https://www.softcell.co.uk/


TALK TALK It’s My Life

The second album TALK TALK saw them work with producer Tim Friese-Greene who would also have a songwriting role alongside Mark Hollis. Still reliant on synthesizers for its aural template, the initial five song sequence from ‘Dum Dum Girl’ to ‘Tomorrow Started’ was superb, taking in the title song and the magnificent ‘Such A Shame’. It sold well in Europe but was largely ignored in the UK.

‘It’s My Life’ is still available via EMI Music

https://www.facebook.com/talktalkfans


THOMPSON TWINS Into The Gap

Following their breakthrough record ‘Quick Step & Side Kick’, ‘Into The Gap’ was the most commercially successful THOMPSON TWINS studio album, putting the quirky trio into the US Top10. Co-produced by Alex Sadkin, it featured the megahits ‘Hold Me Now’ and ‘Doctor Doctor’ while the neo-title song ‘The Gap’ offered an Eastern flavoured take on ‘Trans-Europe Express’.

‘Into The Gap’ is still available via Edsel Records

http://www.thompsontwinstombailey.com/


ULTRAVOX Lament

With self-produced recording sessions in the Musicfest home studio of Midge Ure, there were more obviously programmed rhythm tracks than previously while tracks ranged from the earnest rock of ‘One Small Day’ to the sequencer-driven ‘White China’. But it was the apocalyptic Michael Rother influenced ‘Dancing With Tears In My Tears’ that presented ULTRAVOX with their biggest hit since ‘Vienna’.

‘Lament’ is still available via Chrysalis Records

http://www.ultravox.org.uk/


Text by Chi Ming Lai
24 February 2024

THE ELECTRONIC LEGACY OF 1979

While 1979 saw a post-punk revolution with new wave and ska emerge as energetic expressions of youth with the likes of JOY DIVISION, XTC, THE SPECIALS and MADNESS, maturer acts with power pop sensibilities such as BLONDIE and THE POLICE dominated the UK charts.

But the synthesizer had become a new tool of creativity for those who weren’t interested in learning chords on a guitar and preferred to use one finger, thanks to its new found affordability with refined technology from Japan. While electronics had been present in disco, progressive rock and esoteric avant garde forms, following seminal records in 1978 such as ‘Warm Leatherette’ b/w ‘TVOD’ by THE NORMAL and ‘Being Boiled’ by THE HUMAN LEAGUE, a new DIY artpop form was developing that would eventually take on KRAFTWERK at their own game.

Among those fledgling electronic acts who released their debut singles in 1979 on independent labels were OMD with ‘Electricity’ on Factory Records and FAD GADGET with ‘Back To Nature’ on Mute Records. Meanwhile on another independent Rough Trade, CABARET VOLTAIRE achieved a wider breakthrough with ‘Nag Nag Nag’, the standalone single accompanying their first album ‘Mix-Up’.

Having experimented with synths on ‘Low’ released in 1977, David Bowie had gone to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”. Alas it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’. However, just a few weeks earlier, SPARKS had taken the Giorgio Moroder produced ‘No1 Song In Heaven’ into the UK Top20. But however history is perceived, a revolution had begun that would lead to the dawn of “synthpop” in 1980.

Here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1979. They are listed in alphabetical order with a restriction of one album per artist moniker, meaning Gary Numan and Edgar Froese appear twice…


ASHRA Correlations

As ASHRA, Manuel Göttsching released what many consider to be his first ambient masterpiece ‘New Age Of Earth’. On 1978’s ‘Blackouts’, he expanded the line-up to include drumming synthesist Harald Grosskopf and guitarist Lutz Ulbrich which continued on ‘Correlations’. Despite being more rock-oriented, it featured sequenced electronics with ‘Club Cannibal’ almost entering Jean-Michel Jarre territory.

‘Correlations’ is still available via Spalax Music

https://www.electricityclub.co.uk/manuel-gottsching-1952-2022/


PETER BAUMANN Trans Harmonic Nights

Although he had released ‘Romance ‘76’ while still a member of TANGERINE DREAM, Peter Baumann’s first solo album after departing the band was something of an interim record before venturing into electronic pop with ‘Repeat Repeat’. Mostly shorter instrumental compositions using mysterious melodies and occasional vocoder textures, ‘Trans Harmonic Nights’ remains something of an underrated electronic gem.

‘Trans Harmonic Nights’ is still available via Cherry Red Records

https://www.cherryred.co.uk/product/trans-harmonic-nights-remastered-edition/


EDGAR FROESE Stuntman

Away from TANGERINE DREAM and perhaps prompted by the success of Jean-Michel Jarre’s electronic symphonies, ‘Stuntman’ was Edgar Froese at his most accessible with strong synth melodies, particularly on the title track. Elsewhere, new age resonances were developing while on ‘Drunk Mozart In The Desert’, there were atmospherics coupled with a rhythmic bounce.

‘Stuntman’ is still available via Virgin Records

https://www.edgarfroese.de/


GINA X PERFORMANCE Nice Mover

Produced and co-written by Zeus B Held, the debut album by androgynous art history student Gina Kikoine featured an array of ARP and Moog synths to signal the birth of a new European Underground. Cult club favourite ‘No GDM’ was written in honour of the “great dark man” Quentin Crisp while other highlights included the detached robotic soul of the title song and the feisty gender statement ‘Be A Boy’.

Available on the album ‘Nice Mover + Voyeur’ via Les Disques du Crepuscule

http://www.ltmrecordings.com/gina_x.html


GIORGIO E=MC²

With Giorgio Moroder acquiring Roland’s new System 700 and an MC8 Micro-composer to control it, ‘E=MC²’ was touted as the first “electronic live-to-digital” album. This allowed for an uptempo funkiness previously unheard on sequencer based music to come into play. With the euphoric energy and treated vocals of ‘What A Night’, the sound of DAFT PUNK was inadvertently being invented!

‘E=MC²’ is still available via Repertoire Records

https://www.giorgiomoroder.com/


STEVE HILLAGE Rainbow Dome Musick

As a member of GONG and solo artist, Steve Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival For Mind-Body-Spirit’ at Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ is still available via Virgin Records

http://www.stevehillage.com/


THE HUMAN LEAGUE Reproduction

With a manifesto of “synthesizers and vocals only”, the debut album by THE HUMAN LEAGUE included ‘Empire State Human’, ‘Circus Of daeth’, ‘Almost Medieval’, ‘Blind Youth’ and a stark cover of ‘You’ve Lost That Loving Feeling’. While ‘Reproduction’ was not a commercial success, Phil Oakey, Ian Craig Marsh and Martyn Ware gained valuable experience that would progress their careers.

‘Reproduction’ is still available via Virgin Records

https://www.electricityclub.co.uk/martyn-ware-the-reproduction-travelogue-interview/


JAPAN Quiet Life

Although considered a 1980 album, the third JAPAN long player was actually released late 1979 in Japan, Canada, Holland and Germany. Featuring the sequencer-driven title song as well as the rockier ‘Halloween’, despite Roxy rip-off accusations, it was a major artistic step forward as a quality timeless work embracing synths, muzak and orchestrations.

‘Quiet Life’ is still available via BMG

https://www.electricityclub.co.uk/rob-dean-the-quiet-life-interview/


GARY NUMAN The Pleasure Principle

Devoid of guitar but using a flesh-and-blood rhythm section, Gary Numan realised his dream of producing a new form, machine rock. Synths were fed through guitar effects pedals to add a more sinister metallic tone and while there was sombre isolation communicated on all the songs, there was a catchy melodic sensibility which turned Numan into the first synthesizer pop star.

‘The Pleasure Principle’ is still available via Beggars Banquet

https://garynuman.com/


ROBERT RENTAL & THOMAS LEER The Bridge

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties. Comprising of a side of five songs and a side with four ambient instrumentals, ‘Day Breaks, Night Heals’ and ‘Monochrome Days’ both showcased an avant pop sensibility. Robert Rental sadly passed away in 2000.

‘The Bridge’ is still available via Mute Artists

https://www.electricityclub.co.uk/story-of-thomas-leer-robert-rental/


ROEDELIUS Selbstportrait

Best known as a member of CLUSTER with the late Dieter Moebius, ‘Selbstportrait’ was Hans-Joachim Roedelius’ third solo album, a “self-portrait” reflecting the gentle introspective ambience of the record. Something of a sister album to the 1977’s ‘Sowiesoso’, it was more accessible than CLUSTER’s own structurally minimal ‘Grosses Wasser’ also issued in 1979.

‘Selbstportrait’ is still available via Bureau B

https://www.roedelius.com/


KLAUS SCHULZE Dune

After the ambitious double opus ‘X’ which also incorporated strings in a record comprising of “Six Musical Biographies” in honour of figures including ‘Dune’ author Frank Herbert, Klaus Schulze conceived an actual album called ‘Dune’. Something of a diversion, ‘Shadows of Ignorance’ featured the eccentric poetry of Arthur Brown while the experimental ambient title track made use of cello.

‘Dune’ is still available via Bureau B

https://klaus-schulze.com/


SIMPLE MINDS Real To Real Cacophony

Stronger than their debut LP ‘Life In A Day’, SIMPLE MINDS started experimenting with more electronics and a very European austere on its swift follow-up ‘Real To Real Cacophony’ with the title song presenting their take on KRAFTWERK’s ‘Radio-Activity’. Underground and pulsating through on ‘Changeling’, that and ‘Premonition’ really were a sign of things to come in their dark avant disco templates.

‘Real To Real Cacophony’ is still available via Virgin Records

https://www.simpleminds.com/


SPARKS No1 In Heaven

Following the inspirational success of ‘I Feel Love’, SPARKS were put in contact with its producer Giorgio Moroder who had aspirations to work with a band. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the electronic disco template. ‘The No1 Song In Heaven’ hit the UK charts a few months before ‘Are Friends Electric?’ while the follow-up ‘Beat The Clock’ got into the Top 10.

‘No1 In Heaven’ is still available via Lil Beethoven Records

http://www.allsparks.com/


TANGERINE DREAM Force Majeure

Still feeling the void left by the departure of Pete Baumann, following the vocal experiment of ‘Cyclone’, Edgar Froese and Christopher Franke opted to retain drummer in Klaus Krüger. While there was also increased guitar and piano usage, the title song and ‘Thru Metamorphic Rocks’ utilised pulsing sequencer passages to signal the Hollywood direction that TANGERINE DREAM would head in.

‘Force Majeure’ is still available via Virgin Records

https://www.tangerinedreammusic.com/


TELEX Looking For Saint Tropez

The ethos of Belgian trio TELEX was “making something really European, different from rock, without guitar”. ‘Looking For Saint Tropez’ contained ‘Moscow Diskow’ took the Trans-Siberian Express to Moscow by adding a funkier groove while also included were a funereal robotic cover of ‘Rock Around The Clock’ and their deadpan debut single ‘Twist A Saint Tropez’.

‘Looking For Saint Tropez’ is still available via Mute Artists

https://www.facebook.com/ThisIsTelex


THROBBING GRISTLE 20 Jazz Funk Greats

The title and the group photo on Beachy Head were tongue-in-cheek statements but THROBBING GRISTLE were still deathly uncompromising as shown by ‘Persuasion’. However, there were glints of light with the glorious cascading instrumental ‘Walkabout’ and mutant disco lento of ‘Hot On The Heels Of Love’ as Cosey Fanni Tutti’s whispered vocals competed with synthetic whip-crack and drill noises!

‘20 Jazz Funk Greats’ is still available via Mute Artists

https://www.throbbing-gristle.com/


TUBEWAY ARMY Replicas

Whereas the TUBEWAY ARMY debut featured punk tunes with added synth, ‘Replicas’ would see the Philip K Dick inspired dystopian vision of Gary Numan paired with appropriate electronic sounds as the main melodic component on the now classic UK No1 ‘Are Friends Electric?’. But ‘Down In The Park’ and ‘I Nearly Married A Human’ pointed to a future guitar-free follow-up.

‘Replicas’ is still available via Beggars Banquet

https://www.electricityclub.co.uk/beginners-guide-gary-numan/


VANGELIS China

Although VANGELIS had never been to China at the time the album was recorded, he had developed a passionate fascination for its people, culture and vast landscape, noting a connection between ethnic Greek and Chinese music. Using traditional elements alongside his synthesizers, the centrepieces were the majestic ‘Chung Kuo’ and the meditative pentatonic piece ‘The Tao Of Love’.

‘China’ is still available via Universal Music

https://elsew.com/


YELLOW MAGIC ORCHESTRA Solid State Survivor

The second and best YELLOW MAGIC ORCHESTRA album featured an embarrassment of riches.  It included the glorious Technopop of ‘Rydeen’, the mighty ‘Technopolis’, the moodier ‘Castalia’, the Cossack romp of ‘Absolute Ego Dance’ and ‘Behind The Mask’ which was later covered by Greg Phillinganes, Eric Clapton and Michael Jackson.

‘Solid State Survivor’ is still available via Sony Music Direct

http://www.ymo.org/


Text by Chi Ming Lai
1 January 2024

THE ELECTRONIC LEGACY OF 1980

David Bowie had famously dropped in to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”.

But it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’ while just a few weeks earlier, SPARKS had been become willing conspirators with Giorgio Moroder on ‘The No1 Song In Heaven’ to effectively invent the synth duo.

Although it was the dawn of synth, 1980 was a transitional time when the synth was still the exception rather than the rule. The landscape was changing and the seed of what became the New Romantic movement had been planted.

Following the critical mauling he received for his 1979 album ‘Lodger’ but aware of his burgeoning influence in these futuristic sounds, Bowie headed down to The Blitz with RCA assistant and club regular Jacqueline Bucknell to cast extras including the late Steve Strange for the video of his new single ‘Ashes To Ashes’. It hit the top of UK charts and confirmed that once again “There’s old wave. There’s new wave. And there’s David Bowie…”

While Bowie’s was not an electronic artist in the way some of the next generation of artists had declared themselves, he couldn’t resist a sly dig at the acts that he’d inspired, using the line “same old thing in brand new drag” on the track ‘Teenage Wildlife’ from his next album ‘Scary Monsters’. And he was eventually to beat previous winner Gary Numan to the year’s ‘Best Male Singer’ accolade at the BBC endorsed British Rock & Pop Awards.

Belatedly looking back to 42 years ago before automatic stations came, here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1980. They are listed in alphabetical order with a restriction of one album per act.


BUGGLES The Age Of Plastic

Trevor Horn and Geoff Downes met while working with Tina Charles and her producer Biddu. Together they would go on to form BUGGLES and score a No1 with ‘Video Killed The Radio Star’. From the parent album ‘The Age Of Plastic’, ‘Astroboy’ developed on the duo’s sonic adventures while ‘The Plastic Age’ and ‘Clean Clean’ provided further if minor hits. Horn would go on become a top record producer.

‘The Age Of Plastic’ is still available via Island Records / Universal Music

https://twitter.com/Trevor_Horn_


DALEK I Compass Kum’Pas

Before OMD, the electronic duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass Kum’pas’ was released, OMD were having hits and keyboards man Dave Hughes had left to join their live band. Although Alan Gill’s vocals could polarise opinion, ‘Destiny’ was their most immediate song with a precise percussive appeal while ‘The World’ was eccentric and retro-futuristic.

‘Compass Kum’Pas’ is still available via Mercury Records

http://www.discogs.com/artist/Dalek+I


FAD GADGET Fireside Favourites

The success of the singles ‘Back To Nature’ and ‘Ricky’s Hand’ attracted a loyal fanbase, so a FAD GADGET album  ‘Fireside Favourites’ was eagerly anticipated. Developing on the minimal industrialism of the singles, the superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while offering his own brand of romantic macabre was the neo-title song ‘Fireside Favourite’.

‘Fireside Favourites’ is still available via Mute Records

https://mute.com/artists/fad-gadget


JOHN FOXX Metamatic

On the ULTRAVOX! eponymous debut,John Foxx had announced “I want to be a machine”. On signing to Virgin Records as a solo artist, he virtually went the full hog with the seminal JG Ballard inspired ’Metamatic’. ‘Underpass’ and ‘No-One Driving’ underlined the dystopian nature of Foxx’s mindset while the fabulous ‘A New Kind Of Man’ and the deviant ‘He’s A Liquid’ were pure unadulterated Sci-Fi .

‘Metamatic’ is still available via Metamatic Records

http://www.metamatic.com/


HARALD GROSSKOPF Synthesist

Having worked with Klaus Schulze and Manuel Göttsching, Harald Grosskopf took the plunge to go solo with the mind bending album ‘Synthesist’. A work comprising of eight instrumentals that blended a sonic tapestry of synthesizer soundscapes with drumming that provided colour as opposed to dominance, it musically followed in the exquisite tradition of his Berlin electronic friends.

‘Synthesist‘ is still available via by Bureau B

https://www.haraldgrosskopf.de/englisch/home.html


THE HUMAN LEAGUE Travelogue

With THE HUMAN LEAGUE learning lessons from their debut ‘Reproduction’, ‘Travelogue’ had more presence by creatively utilising the harsh screeching frequencies from overdriving their studio desk. ‘The Black Hit Of Space’ had its surreal Sci-Fi lyrics while ‘Dreams Of Leaving’ was a fantastically emotive slice of prog synth. There were glorious cover versions in ‘Only After Dark’ and ‘Gordon’s Gin’.

‘Travelogue’ is still available via Virgin Records

https://martynwareofficial.co.uk/


JAPAN Gentlemen Take Polaroids

Dropped by Ariola Hansa, JAPAN found a refuge at Virgin Records. The bossa nova driven ‘Swing’ explored exotic grooves while the haunting ‘Nightporter’ was the ultimate Erik Satie tribute. An interest in Japanese technopop produced the brilliant ‘Methods Of Dance’ and saw leader David Sylvian collaborate with YELLOW MAGIC ORCHESTRA’s Ryuichi Sakamoto on  ‘Taking Islands In Africa’.

‘Gentlemen Take Polaroids’ is still available via Virgin Records

http://www.nightporter.co.uk/


JOY DIVISION Closer

While not strictly an electronic album in full, half of ‘Closer’ was dominated by polyphonic synthesizers. Featuring an ARP Omni and an early version of Simmons drums, ‘Isolation’ was the most electronic track JOY DIVISION ever recorded. On the second side, ‘Heart & Soul’, ‘The Eternal’ and ‘Decades’ provided the solemn but beautiful Gothic backdrop for Ian Curtis’ elaborate musical suicide note.

‘Closer’ is still available via Rhino

http://joydivisionofficial.com/


LA DÜSSELDORF Individuellos

LA DÜSSELDORF were fronted by the late Klaus Dinger of NEU! The first half of ‘Individuellos’was dominated by variations on ‘Menschen’, a grand statement sounding like a blueprint for Phil Lynott’s ‘Yellow Pearl’. ‘Dampfriemen’ was a quirky slice of synth oompah with comedic chants and a kazoo section while the piano laden ‘Das Yvönnchen’ provided a beautiful closer.

‘Individuellos’ is still available via Warner Germany

https://www.discogs.com/artist/152540-La-Düsseldorf


NEW MUSIK From A To B

Time has shown that Tony Mansfield and NEW MUSIK were underrated. Featuring the hits ‘Living By Numbers’, ‘This World Of Water’ and ‘Sanctuary’ as well as ‘On Islands’ which was later covered by CAMOUFLAGE, the band were dismissed as a novelty act due to the silly voices in their songs. Mansfield went on to become a producer, working with A-HA, NAKED EYES and VICIOUS PINK.

‘From A To B’ is still available via Lemon Records

https://www.new-musik.co.uk/


GARY NUMAN Telekon

The negative side of fame got into the psyche of Gary Numan and his new songs took on a more personal downbeat nature away from the Sci-Fi dystopia of his previous work. ‘This Wreckage’ and ‘Please Push No More’ summed up the self-doubt but while ‘Remind Me To Smile’ could have been a single, ‘Telekon’ suffered from not having the hits ‘We Are Glass’ and ‘I Die: You Die’ on the original LP release.

‘Telekon’ is still available via Beggars Banquet

https://garynuman.com/


OMD Orchestral Manoeuvres In The Dark

OMD released two albums in 1980 but their self-titled debut captured Andy McCluskey and Paul Humphreys using the most basic equipment, the duo not even having a polyphonic synth at the time. With energetic post-punk synth numbers such as ‘Electricity’ and ‘Bunker Soldiers’, on the other side of the coin were ‘Almost’ and ‘The Messerschmitt Twins’. An early version of ‘Messages’ pointed to hit singles.

‘Orchestral Manoeuvres In The Dark’ is still available via Virgin Records

http://www.omd.uk.com/


ROBERT PALMER Clues

Although rooted in the blues via his previous band VINEGAR JOE, Robert Palmer had taken an interest in synths having become a fan of Gary Numan. That led to two collaborations including a version of ‘I Dream Of Wires’ released before Numan’s own recording and the Eastern flavoured ‘Found You Now’. But the electronic centrepiece was the beautifully world weary ‘Johnny & Mary’.

‘Clues’ is still available via Island Records / Universal Music

http://www.robertpalmer.com/


SILICON TEENS Music For Parties

Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project SILICON TEENS as a fictitious synth group where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’, ‘Let’s Dance’ and ‘Sweet Little Sixteen’ were enjoyably reinterpreted in a quirky synthpop style with Miller adding his deadpan monotone vocal.

‘Music For Parties’ is still available via Mute Records

https://mute.com/artists/silicon-teens


SIMPLE MINDS Empires & Dance

Tours opening for Gary Numan and Peter Gabriel took SIMPLE MINDS around Europe to experience Cold War tensions at closer hand. Their wired mood was captured on ‘Empires & Dance’. With its speedy Moroder-esque influence, ‘I Travel’ was a screeching futuristic frenzy and ‘Celebrate’ brought some industrial Schaffel to the party. ’30 Frames A Second’ took a trip down the autobahn.

‘Empires & Dance’ is still available via Virgin Records

https://www.simpleminds.com/


SPARKS Terminal Jive

Following the Giorgio Moroder steered album ‘No1 In Heaven’, SPARKS were despatched by Virgin Records to record a swift follow-up. Although Moroder was still nominally at the helm, Harold Faltermeyer took the majority of production duties on ‘Terminal Jive’. ‘Rock ‘N’ Roll People In A Disco World’ seemed to reflect the confused direction but ‘When I’m With You’ was a massive hit single in France.

‘Terminal Jive’ is still available via Repertoire Records

http://allsparks.com


TANGERINE DREAM Tangram

After experiments with vocals on ‘Cyclone’ and live drums on ‘Force Majeure’, with the recruitment on keyboards with Johannes Schmoelling to fill the difficult to fill void left by the departure of Peter Baumann, Edgar Froese and Christopher Franke got back on track, combining a more immediate sequencer drive with the melodic New Age resonances that would characterise TANGERINE DREAM’s later work.

‘Tangram’ is still available via Virgin Records

https://tangerinedreammusic.com/


TELEX Neurovision

The second TELEX album ‘Neurovision’ continued with the trio’s tradition of deadpan electronic covers and a gloriously metronomic take on ‘Dance To The Music’ showcased their penchant for mischievous subversion. But this mischief came to its head with their lampooning self-composed number ‘Euro-Vision’, a bouncy electropop tune which they actually entered for 1980 Eurovision Song Contest!

‘Neurovision’ is still available via Mute Artists

https://mutebank.co.uk/collections/telex


ULTRAVOX Vienna

Following the first VISAGE sessions, Midge Ure was invited to join Billy Currie, Chris Cross and Warren Cann in ULTRAVOX. Providing a sonic continuity was producer Conny Plank while the robotic spy story ‘Mr X’ voiced by Cann provided another link. Opening with the mighty instrumental ‘Astradyne’ and closing with the synthesized heavy metal of ‘All Stood Still’, the ‘Vienna’ album was a triumph.

‘Vienna’ is still available via Chrysalis Records

http://www.ultravox.org.uk/


VISAGE Visage

Formed as a reaction to the shortage of new electronic dance music to play at The Blitz Club, ex-RICH KIDS members Midge Ure and Rusty Egan recruited its figurehead Steve Strange to front the project under the name of VISAGE. Billy Currie, Dave Formula, John McGeoch and Barry Adamson joined later and captured a synthesized European romanticism that boasted the German No1 ‘Fade To Grey’.

‘Visage’ is still available via Rubellan Remasters

https://www.therealvisage.com/


Text by Chi Ming Lai
29 December 2023

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023

Making up for lost time and revenue since 2020, the music industry really went to town on their various income streams in 2023…

Albums were being released in multiple coloured vinyl editions with the same content, sometimes as many as eight versions… while this helped in inflating physical chart positions for marketing purposes, it also gave an incorrect perception of success. As Stephen Morris from NEW ORDER once remarked to Smash Hits back in 1983: “If you believe in the charts, then you may as well believe in fairies…”

With Live Nation CEO Michael Rapino declaring that concert ticket prices were generally too low and that artists could easily “charge a bit more”, this was exactly what quite a few did and there was a noticeable price hike observed across all levels over the year.

But what about the music? This year’s song listing was quite straightforward to compile, with a smaller shortlist compared to previous years with DURAN DURAN, KITE, PISTON DAMP, LEATHERS, DELERIUM and LADYTRON missing the final 30.

Just a note that ELECTRICITYCLUB.CO.UK has never compiled an albums list, due to long form releases now having a much longer gestation period than in the past. Therefore, songs are a much better representation of the music from a calendar year. If you like the song, then check out the parent album or EP if applicable via your chosen music platform…

Selected from tracks available on the usual online retail platforms with a restriction of one song per artist moniker (so yes NINA, John Grant,  Finlay Shakespeare and Laura Bailey each appear twice but in different combinations), here are the ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023 listed in alphabetical order…


BRIGITTE BARDINI Start A Fire

Hailing from Melbourne in Australia, Brigitte Bardini is the latest artist to embrace her dark side having begun as an acoustic singer songwriter. Moving away from the dreampop and shoegaze of her earlier material, ‘Start A Fire’ captured an alluring gothique on top of a gritty dance tempo while simultaneously haunting and melodic. This was sinister stuff but aurally absorbing.

Available on the BRIGITTE BARDINI single ‘Start A Fire’ via Ruby Valley Records

https://www.facebook.com/BrigitteBardiniMusic


BEBORN BETON Dancer In The Dark

Not a rework of Bruce Springsteen, the brilliant ‘Dancer In The Dark’ saw BEBORN BETON managing to out Camouflage CAMOUFLAGE with an infectious pop sensibility that more than likely came from front man and lyric writer Stefan Netschio’s love of DURAN DURAN. As if The Berlin Wall never fell, ‘Dancer In The Dark’ was a message to remain positive in the face of adversity.

Available on the BEBORN BETON album ‘Darkness Falls Again’ via Dependent Records

https://www.bebornbeton.com/


BLACKCARBURNING The Mirror

BLACKCARBURNING is the solo vehicle of Mark Hockings, lead singer of MESH. taking on multiple roles including programming and production. The spikey throbbing energy of ‘The Mirror’ provided a dark disco highlight away from the parent band’s template. “I’m just generally a fan of arpeggiated bass lines” he said, “I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine”.

Available on the BLACKCARBURNING album ‘Watching Sleepers’ via COP International

https://blackcarburning.com/


LLOYD COLE The Idiot

With Lloyd Cole “excited to still be finding new methods, new perspectives, new sounds”, the standout song ‘The Idiot’ from his Chris Hughes’ produced album ‘On Pain’ gave a touching synth-laden narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976 in an imagined conversation as the pair escaped their narcotic dependency while cycling to the studio and discothèque.

Available on the LLOYD COLE album ‘On Pain’ via earMUSIC

https://www.lloydcole.com/


CREEP SHOW The Bellows

A supergroup comprising of John Grant, Stephen Mallinder, Ben Benge Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018. Utilising a punchy backing track, ‘The Bellows’ was like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo.

Available on the CREEP SHOW album ‘Yawning Abyss’ via Bella Union

http://creepshowmusic.com


DAWN TO DAWN Seventh Floor

Their first new track from DAWN TO DAWN since their 2022 debut album ‘Postcards From The Sun To The Moon’, the Montreal trio of Tess Roby, Adam Ohr and Patrick Lee conjured images of headlights on night drives with the shimmering story of love and lust that was ‘Seventh Floor’ with dreamy synthscapes and hypnotic drum machine.

Available on the DAWN TO DAWN digital single ‘Seventh Floor’ via SSURROUNDSS

https://www.facebook.com/dawntodawnmusic


FERAL FIVE Silver Sky

The palette of tools on ‘Truth Is The New Gold’ saw FERAL FIVE use traditional instruments, electronica and AI voicing in a quirky but accessible fashion. Exploring the theme of light pollution, the fine squelch laden ‘Silver Sky’ saw great vocals and backing reminiscent of INTERNATIONAL TEACHERS OF POP and DUBSTAR meeting GOLDFRAPP.

Available on the FERAL FIVE album ‘Truth Is The New Gold’ via Reckless Yes

https://www.feralfive.com/


FRAGRANCE. Much More Like A Wave – M!R!M Remix

Matthieu Roche is the enigmatic Parisian behind FRAGRANCE. whose debut ‘Dust & Disorders’ was expanded in 2023 with five new tracks. The first remix from it came in the shape of an excellent ‘Much More Like A Wave’ rework by Italian producer M!R!M. “I love his take on the song” said Roche, “I always felt that the chorus of this song could work as an anthem and he definitely achieved that with his remix”

Available on the FRAGRANCE. digital single ‘Much More Like A Wave – M!R!M Remix’ via Sugarcane Recordings

https://www.facebook.com/thisisfragrance/


GLÜME Dangerous Blue

The second Glüme album ‘Main Character’ with high profile guests such as Sean Ono Lennon and Rufus Wainwright was set to elevate her to the next level but things did not quite work out that way with health and financial concerns by the end of the year. ‘Dangerous Blue’ was one of the sparkling highlights despite its cooing melancholy.

Available on the GLÜME album ‘Main Character’ via Italians Do It Better

https://www.instagram.com/babyglume/


MADELINE GOLDSTEIN Seed of Doubt

Madeline Goldstein presented her best single yet in ‘Seed Of Doubt’ to launch her ‘Other World’ EP. With a wider narrative on “the restlessness of alienation and isolation, the longing to move, to feel power, and to flee”, ‘Seed Of Doubt’ was a brooding slice of gothwave in a manner tinged with some ghostly allure thanks to a haunting soprano delivery.

Available on the self-released MADELINE GOLDSTEIN EP ‘Other World’

https://www.instagram.com/madelinegoldstein_/


JORI HULKKONEN featuring JOHN GRANT I’m Going To Hell

“For my 50th birthday I wanted to do something a bit special” said Jori Hulkkonen, “however, the list of realistic projects quickly narrowed down on yet another album. I did manage to invite some friends and heroes to be featured on it, though.” Displaying his love of PET SHOP BOYS, hearing John Grant with his rich baritone on a house-driven pop track like ‘I’m Going To Hell’ was pure joy.

Available on the JORI HULKKONEN album ‘There Is Light Hidden In These Shadows’ via Blanco & Tinto Recordings

http://www.jorihulkkonen.com


ITALOCONNECTION featuring JAIA SOWDEN On The Radio

ITALOCONNECTION’s long player ‘Nordisko’ came with a twist by paying tribute to pop from the Nordic region via a collection of cover versions. Written by Jay-Jay Johanson, his marvellous 2002 tune ‘On The Radio’ was given an airy feminine disco makeover featuring Jaia Sowden on vocals. With absorbent sequences and glistening keys, it was a fine shapeshift from the artpop original.

Available on the ITALOCONNECTION album ‘Nordisko’ via Mordisco / Blanco Y Negro

https://www.facebook.com/italoconnection


JAAKKO EINO KALEVI The Chamber Of Love

Jaakko Eino Kalevi sought to find beauty in the chaotic nature of the everyday on his new album ‘Chaos Magic’. One of its many highlights ‘The Chamber Of Love’ bore a resemblance to WHAM! “I wrote the song before I ever heard ‘Everything She Wants’ but the arrangement was different” the Finn said, “I love ‘Everything She Wants’ so I arranged this song sounding more like that. It is more electronic now…”

Available on the JAAKKO EINO KALEVI album ‘Chaos Magic’ via Weird World / Domino Recording Co

https://www.jaakkoeinokalevi.com/


KID MOXIE & NINA Lust

When artists are mutual fans, it can lead to collaborative possibilities and even ‘Lust’. KID MOXIE and NINA teamed up via Italians Do It Better to capture a seductive film-noir tension within a fantasy world. With a cool air of enigmatic mystery, the downtempo synthwave treatment exuded a sensual anticipation of consummation in their duet.

Available on the KID MOXIE & NINA EP ‘Lust’ via Italians Do It Better

http://www.facebook.com/kidmoxie

https://www.iloveninamusic.com/


KNIGHT$ What Planet Did You Come From?

The first new music from KNIGHT$ since 2021, the vibrant hook-laden Eurobeat of ‘What Planet Did You Come From? (Baby)’ threw in the kitchen sink with synth, sax and vocoder. With shades of Patrick Cowley’s work for Sylvester and Bobby Orlando’s Divine productions, it affirmed that James Knights’ Britalo was just the tonic in these difficult times.

Available on the KNIGHT$ EP ‘$auna Mu$ik’ via Specchio Uomo

http://knights101.com/


NATION OF LANGUAGE I Will Never Learn

‘I Will Never Learn’ summed up life’s trials and tribulations in a wonderful example of why NATION OF LANGUAGE appeal so much in their glorious mix of synths, live bass, sequencers and electronic percussion. A haunting girly falsetto howl provided a beautiful touch alongside their usual NEW ORDER, OMD and ULTRAVOX influences.

Available on the NATION OF LANGUAGE album ‘Strange Disciple’ via PIAS

https://www.nationoflanguage.com/


NEU-ROMANCER Burning Eyes

Having impressed with her first NEU-ROMANCER EP ‘Neue Romantika’ earlier in 2023 while touring the world with ZANIAS, Berlin-based Australian Laura Bailey ended the year with the cowbell heavy Hi-NRG romp ‘Burning Eyes’. It made use of both her vocal and bass prowess which were less prominent on her largely instrumental debut release.

Available on the compilation album ‘Next Wave Acid Punx DEUX’ (V/A) via Eskimo Recordings

https://www.facebook.com/neu.romacer.music/


NNHMN Soldier of Beauty

As NNHMN, “non-humans” Lee Margot and Michal Laudarg have been encapsulating these unsettling times in music. Adapting their dark electronic body style with more varied dance elements on their appropriately titled ‘Circle of Doom’ album, courtesy of a particularly hypnotic bassline, the wonderful serene glory of ‘Soldier of Beauty’ gave the viewpoint that the only honest thing to fight for is peace.

Available on the NNHMN album ‘Circle of Doom’ via Young and Cold Records

https://www.nnhmn.com


OMD Look At You Now

Derived from a Paul Humphreys demo with the working title of ‘Zimmer Frame for Andy’, this came bursting with hooks and was perhaps only missing a Paul Humphreys lead vocal. Lyrics such as “When the energy is gone and the feeling is just wrong” and “The power in your hand is pouring out like sand” pointed towards the ‘Bauhaus Staircase’ album’s political themes on the stupidity of Brexit.

Available on the OMD album ‘Bauhaus Staircase’ via 100% Records

https://omd.uk.com/


PAGE Det Här Är Mitt Sätt

Although the ‘En Ny Våg’ album title song took the PAGE “Numanisation” process to its zenith by featuring Chris Payne, outstripping it was the excellent jaunty robopop of ‘Det Här Är Mitt Sätt’. Within its four chord progression, there were catchy riffs and some fabulous vintage Moog soloing in what was originally conceived as a homage to ‘Fade To Grey’, song which Payne co-wrote.

Available on the PAGE album ‘En Ny Våg’ via Energy Rekords

https://www.facebook.com/PageElektroniskPop


THE REMAINDER Broken Manhole Cover

As well as Neil Arthur, THE REMAINDER also comprises Liam Hutton and Finlay Shakespeare, both members of the live BLANCMANGE family. The excellent dance friendly ‘Broken Manhole Cover’ recalled LCD SOUNDSYSTEM and it was all intentional as Neil Arthur told ELECTRICITYCLUB.CO.UK “you’ll hear me singing via a gated tremolo FX the words ‘LCD SOUNDSYSTEM’ most of the way through the song.”

Available on THE REMAINDER album ‘Evensong’ via by Blanc Check Ltd

http://www.blancmange.co.uk/

https://www.liamhutton.co.uk/

http://finlayshakespeare.com/


R. MISSING All Alone With Seas

Fronted by enigmatic Sharon Shy, having released enough singles this year to make up an album, R. MISSING are in danger of falling under the radar with the bubbly electronic pop noir of ‘All Alone With Seas’ almost passing by unnoticed despite being one of their best songs of late. A long playing release, while old fashioned, may provide the focal point the duo deserve.

Available on the R. MISSING single ‘All Alone With Seas’ via Terminal Echo

https://rmissing.com/


SALLY SHAPIRO Rent

Covered by acts as diverse CARTER USM and Liza Minnelli, the latest interpretation of PET SHOP BOYS stark narrative of a kept woman came via this wispy account by Swedish duo SALLY SHAPIRO. Keeping the original theme of relationship dependency close to its heart but offering an icier Nordic vision from a female perspective, Neil Tennant said “We’ve heard it! The chorus in particular sounds good”.

Available on the SALLY SHAPIRO single ‘Rent’ via Italians Do It Better

https://www.facebook.com/shapirosally


DIE SEXUAL Bound, I Rise

DIE SEXUAL are the Los Angeles-based wife-and-husband duo of Rosselinni and Anton Floriano, the latter part of BLACK LIGHT ODYSSEY. Their dark electronic influences examine themes of domination and submission with the seductive ‘Bound, I Rise’ seeing the bottom switch to the top in a hypnotic EBM friendly stomper.

Available on DIE SEXUAL EP ‘Bound’ via A System Exclusive / Hush Ltd.

https://www.facebook.com/diesex


FINLAY SHAKESPEARE Ready Ready

“It’s an absolute rip off of OMD’s ‘2nd Thought’!” admitted Finlay Shakespeare of his glorious ‘Illusion + Memory’ album highlight ‘Ready Ready’. Almost Motorik in presence with a wonderfully pulsing drive and gorgeous synth tones, our hero doesn’t refrain from thoughts about “feeling at home through just a voice on the shortwave, when in fact you don’t know where you are and you could be in the crosshairs at any time and place.”

Available on the FINLAY SHAKESPEARE album ‘Illusion + Memory’ via Alter

http://finlayshakespeare.com/


SIERRA Stronger

Parisian producer Annelise Morel has been quietly impressing audiences over the past few years as SIERRA with her brand of darkwave. After several EP releases, her debut album ‘A Story Of Anger’ was a major leap forward. Including collaborations with Carpenter Brut and HEALTH, the standout track was her autobiographical statement ‘Stronger’.

Available on the SIERRA album ‘A Story Of Anger’ via Universal Music

https://www.facebook.com/sierra.synthmusic


SOFT CELL The Day The World Turned Day-Glo

Always adept at doing covers, SOFT CELL presented a brilliant electro tribute to Poly Styrene with ‘The Day The World Turned Day-Glo’. Taking a musical leaf out of ‘Sex Dwarf’ with Dave Ball making his syndrums and synths sound so menacing yet accessible, while Marc Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages resonating with the dystopian lyrics.

Available on the SOFT CELL album ‘*Happiness now completed’ via BMG

http://www.softcell.co.uk


SOFTWAVE Taking Life For Granted

Despite its positive pop sound, the lyrics on the second SOFTWAVE album highlighted the challenges of living in a modern world full of dualities. ‘Taking Life For Granted’ went all ABBA-esque with someone “lacking gratitude” under attack, although the rousing chorus and a particularly joyous instrumental break gave the infinite hope.

Available on the SOFTWAVE album ‘things we’ve done’ via Electro Shock Records

http://www.softwavemusic.com/


RICKY WILDE X NINA Lovers On A Beach

A fabulous cover of the Italo flavoured Kim Wilde B-side to ‘The Second Time’ from 1984, the throbbing ‘Lovers On A Beach’ is NINA sounding sexier than ever before. With sharp spikey edges boosting the trancey template, Ricky Wilde provides a superb extended end section that pays homage to Giorgio Moroder in the best way possible.

Available on the RICKY WILDE X NINA album ‘Scala Hearts’ via New Retro Wave

https://twitter.com/Wildericky

https://www.iloveninamusic.com/


ZANIAS Lovelife

Following one of the most traumatic periods of her life, Alison Lewis returned as her solo alter-ego Zoe Zanias to present ‘Chrysalis’. With glorious arpeggios and lush synth strings, ‘Lovelife’ was bolstered with bass guitar by live bandmate Laura Bailey aka NEU-ROMANCER while an array of pitch-shifted voice samples acted as an abstract lead vocal before the actual one kicked in.

Available on the ZANIAS album ‘Chrysalis’ via Fleisch

https://www.facebook.com/zoe.zanias/


A selection of ELECTRICITYCLUB.CO.UK’s favourite music of 2023 featuring 230+ tracks has been compiled for its ‘Initial After Brilliance’ playlist


Text by Chi Ming Lai
7 December 2023

A SYNTH IS FOR LIFE & NOT JUST FOR CHRISTMAS…

As the Yule Tide season gets into full swing, ELECTRICITYCLUB.CO.UK presents a collection of modern seasonal tunes with a more artful slant…

With a song to play on each of the 25 days in December until Christmas, some are covers with a modern approach while others gather their thoughts and emotions into original compositions. But each has their own take on the holiday period, whether happy or sad or both.

Synths at Christmas are not entirely new; ‘Last Christmas’ by WHAM! was primarily made with a Roland Juno 60 while BAND AID’s ‘Do They Know It’s Christmas? was dominated by PPG Wave 2.2 with a percussive sample taken from ‘Memories Fade’ by TEARS FOR FEARS also being key to the intro.

However the traditional nature of Christmas often dictates traditional instrumentation in its songs, which means that Christmas synth songs are comparatively uncommon and a more recent phenomenon.

Whatever your plans whether with the family or in the studio, please remember, a synth is for life and not just for Christmas… may it bring you lots of cheer! The 25 songs are presented in yearly then alphabetical order within…


BE MUSIC Rocking Carol (1982)

A Be Music production given away as limited edition flexi-disc of 4400 given away at The Haçienda on Christmas Eve 1982, with the greeting “Merry Xmas From The Haçienda And Factory Records”, this was NEW ORDER covering the traditional Czech seasonal tune also known as ‘Jesus Sweetly Sleep’ and ‘We Will Rock You’ as a robotic electronic tone poem.

Available on the compilation album ‘Ghosts of Christmas Past (Remake)’ (V/A) via Les Disques du Crépuscule

https://www.neworder.com/


EURYTHMICS Winter Wonderland (1987)

Recorded as part of an album on behalf of Special Olympics that featured U2, Madonna, Whitney Houston, Bruce Springsteen, Bryan Adams and Alison Moyet among others, EURYTHMICS’ glistening electronic take on romance during the winter season was cited by ASCAP as now the most played version of the song which was made famous by Darlene Love.

Available on the compilation album ‘A Very Special Christmas’ (V/A) via Universal Music

https://www.eurythmics.com/


S.P.O.C.K White Christmas (1992)

Originally recorded by S.P.O.C.K for Energy Rekords’ ‘Virtual X-Mas 92’ EP and then a bonus song on their 1995 compilation ‘A Piece Of The Action’, this cover of the Irving Berlin standard made famous by Bing Crosby was suitably melodramatic as the holiday season was celebrated in The Neutral Zone while under threat of an alien attack.

Available on the compilation album ‘Virtual 2020 X-Mas’ (V/A) via Energy Rekords

https://www.facebook.com/StarPilotOnChannelK/


SAINT ETIENNE Featuring TIM BURGESS I Was Born On Christmas Day (1993)

Delightfully catchy with a house-laden bounce, ‘I Was Born on Christmas Day’ was written in acknowledgement of band member Bob Stanley’s birthday for an EP ‘Xmas 93’. Featuring a duet between Sarah Cracknell and special guest vocals by Tim Burgess from THE CHARLATANS, the joyful narrative saw the couple elope, confusing some fans and press.

Available on the SAINT ETIENNE album ’A Glimpse Of Stocking’ via PIAS

http://www.saintetienne.com/


DEAD OR ALIVE Blue Christmas (2000)

Originally recorded as a sparse ballad for the B-side of 1990 single ‘Your Sweetness Is Your Weakness’, Pete Burns’ foray into the music for holiday season was given a dancier makeover in 2000 and in hindsight, now sounds like a stylistic blue print for PET SHOP BOYS ‘It Doesn’t Often Snow At Christmas’. The two would later work together on the excellent ‘Jack & Jill Party’ in 2004.

Available on the DEAD OR ALIVE album ‘Fragile’ via Demon Music Group

https://www.discogs.com/artist/46720-Dead-Or-Alive


SALLY SHAPIRO Anorak Christmas (2006)

With their naïve wispiness, understated cinematics and disco beats, if there act who are ably suited to Christmas pop music, it is Swedish duo SALLY SHAPIRO. A cover of a song by fellow Swede Nixon, the lines “The first time that I saw your face on a cold December night, it was a Tuesday on a gig with a band that we both liked” captured an innocent romance and the aural warmth of the named apparel.

Available on the SALLY SHAPIRO album ‘Disco Romance’ via Paper Bag Records

https://www.facebook.com/shapirosally


PET SHOP BOYS It Doesn’t Often Snow At Christmas (2009)

Pet_Shop_Boys_-_ChristmasOriginally recorded in 1997 for an exclusive fan club single but remixed in 2009, ‘It Doesn’t Often Snow At Christmas’ was a suitably cynical offering. Famous for keeping THE POGUES ‘Farytale Of New York’ off the 1987 UK Christmas No1 spot with their cover of ‘Always On My Mind’, while this didn’t hit those commercial heights, it provided a very PET SHOP BOYS take on the madness of the festive season.

Available on the PET SHOP BOYS EP ‘Christmas’ via EMI Records

http://www.petshopboys.co.uk/


CHEW LIPS When You Wake Up (2010)

CHEW LIPS might have disbanded but in 2010, on the back of their only album ‘Unicorn’ and its subsequent tour, they were on a productive high. ‘When You Wake Up’ was a bonus tune recorded and given away as a Christmas gift to fans at the end of that very successful year. Delivered with lead singer Tigs’ usual feisty panache, listening back only highlights how much CHEW LIPS are missed.

Originally released as a free download

https://www.facebook.com/CHEWLiPS/


HURTS All I Want For Christmas Is New Year’s Day (2010)

Hurts-christmasWith their TAKE THAT dressed as ULTRAVOX template, Theo Hutchcraft and Adam Anderson turned their attentions to memories of “the worst Christmas of our lives”. In true Bros Go To Bavaria style, despite the mournful start, ‘All I Want For Christmas Is New Year’s Day’ transformed itself into a hopeful anthem with a big chorus and lashings of tubular bells.

Available on the HURTS album  ‘Happiness’ via Major Label / RCA

http://www.informationhurts.com/


LOLA DUTRONIC Another Christmas Without Snow (2010)

Lola Dutronic-Christmas without snowIn the UK, a wet Christmas is always more likely,  but LOLA DUTRONIC’s ‘Another Christmas Without Snow’ resonated with its melancholic yet pretty demeanour. The project of Canadian producer Richard Citroen and using a flexible roster of wispy female vocalists, the tones of Lola Dee came over all dreamy like SAINT ETIENNE and conveyed the season’s mixed emotions.

Available on LOLA DUTRONIC single ‘(Another) Christmas Without Snow’ via Lola Dutronic

https://www.facebook.com/LOLA-DUTRONIC-80232595392/


ERASURE Gaudete (2013)

ERASURE GaudeteAndy Bell and Vince Clarke’s version of this traditional Ecclesiastical Latin carol continued an ERASURE tradition that had begun with ‘God Rest Ye Merry Gentlemen’ for the CD edition of the ‘Crackers International’ EP in 1988. With a precise electronic backbeat, ‘Gaudete’ was taken from its 16th Century origins and thrown into the new millennium with a cheeky ‘Ice Machine’ reference for good measure.

Available on the ERASURE album ‘Snow Globe’ via Mute Artists

http://www.erasureinfo.com/


HYPERBUBBLE A Synthesizer for Christmas (2013)

HYPERBUBBLE A Synthesizer for ChristmasWhether it was a Casio, Yamaha or Roland, everyone wanted ‘A Synthesizer For Christmas’. Texan couple HYPERBUBBLE took that enduring memory and turned it into a delightful synthpop ditty that could resonate with electronic geeks from 8 to 80 the world over. Short but sweet, it was another joyous “cartoon automaton symphony” from Jess and Jeff.

Available on the HYPERBUBBLE single ‘A Synthesizer For Christmas’ via Socket Sounds

http://www.hyperbubble.net/


VILE ELECTRODES The Ghosts Of Christmas (2013)

VILE ELECTRODES The Ghosts Of ChristmasIf ‘Twin Peaks’ met ‘Leader Of The Pack’ under the mistletoe, it would sound like this. Possibly the best Christmas tune of the last 10 or so years, VILE ELECTRODES’ harrowing tale of a departed loved one is strangely enticing, with the beautifully haunting echoes of Julee Cruise’s ‘The Nightingale’ lingering over the frozen lake.

Available on the ILE ELECTRODES EP ‘The Ghosts Of Christmas’ via Vile Electrodes

http://www.vileelectrodes.com/


HANNAH PEEL Find Peace (2014)

HANNAH PEEL Find Peace‘Find Peace’ was a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension. The off-kilter analogue buzzing and almost random sequences made for a striking listen as a frantic percussive death rattle and an emotive synth drone take hold to provide an appropriate backdrop for the eerie but beautiful voice of Hannah Peel.

Available on the HANNAH PEEL single ‘Find Peace’ via Snowflakes Christmas Singles Club

http://www.hannahpeel.com/


MARSHEAUX We Met Bernard Sumner At A Christmas Party Last Night (2015)

GHOSTS-OF-CHRISTMAS-PAST-twi158cd‘We Met Bernard Sumner At A Christmas Party Last Night’ was a wonderfully whispery synthpop number that was classic MARSHEAUX. The lyrics were constructed from the song and album titles of NEW ORDER to provide an imaginary narrative on Marianthi Melitsi and Sophie Sarigiannidou surreally bumping into the Manchester combo’s lead singer at a Yule Tide function.

Available on the album ‘Ghost Of Christmas Past (Remake)’ (V/A) via Les Disques du Crépuscule

http://www.marsheaux.com


SPARKS Christmas Without A Prayer (2015)

SPARKS Christmas Without A PrayerOn 1974’s ‘Kimono My House’ album, the Mael brothers recorded a song called ‘Thank God It’s Not Christmas’, a typically perverse SPARKS romp that had nothing to do as such with the holiday season. After their FFS collaboration, Russell and Ron ended the year with ‘Christmas Without A Prayer’, a fitting offering which also amusingly outlined that albums by WINGS were actually unwanted gifts.

Available on the SPARKS single ‘Christmas Without A Prayer’ via Lil’ Beethoven Records

http://www.allsparks.com/


VICE VERSA Little Drum Machine Boy (2015)

“A twisted cover of a cover of a cover”, this synth laden reinterpretation of the tune based on a traditional Czech carol made famous by a bizarre but highly enjoyable version by David Bowie and Bing Crosby, saw former ABC stalwarts Mark White and Stephen Singleton reconvene as  VICE VERSA to wax lyrical about 303s, 808s, 909s and a “shiny new Roland toy”. It was a fabulous combination of sleigh bells, squelching arpeggios and of course, drum machines…

Available as a free download via Soundclod

https://www.facebook.com/Vice-Versa-Electrogenesis-806726912703189/


ASSEMBLAGE 23 December (2016)

When you’ve had enough of Christmas shopping and the in-laws, there’s probably nothing better to let off steam than a bit of ASSEMBLAGE 23. While not exactly seasonal, Tom Shear’s Futurepop discoscape captured many of the mixed emotions endemic with the final month of the year, all “Silent and alone, trying to make sense”.

Available on the ASSEMBLAGE 23 album ‘Endure’ via Metropolis

https://www.assemblage23.com


SIN COS TAN Dead By X-Mas (2016)

A cover of Finnish metal glamsters HANOI ROCKS, this take on ‘Dead By X-Mas’ from the nocturnal synth duo SIN COS TAN aka Juho Paalosmaa and Jori Hulkkonen came over a bit like Billy Idol gone electro, but with an elegiac twist. Bizarrely in 2006, the former William Broad issued his own collection of seasonal themed tunes entitled ‘Happy Holidays’ … it’s a nice day for a ‘White Christmas!

Available as a free download via Soundcloud

https://www.facebook.com/homeofsincostan/


FERAL FIVE I Want U (2017)

With female empowerment lyrics like “I don’t need any money or a new handbag, I just need a kind of thing I’ve never had, who says you have to have some shabby gifts”, FERAL FIVE attacked tacky commercialism in a sonic cacophony of crunchy bass guitar, big beats, sparkling electronics and chilling string machines for an alternative take on festivities.

Available on the FERAL FIVE single ‘I Want U’ via Primitive Light Recordings

https://www.feralfive.com/


CIRCUIT3 I Believe In Father Christmas (2018)

Made famous by Greg Lake, CIRCUIT3 used analogue synths such as a Sequential Pro-One, Roland JX10, Korg Wavestation and Moog Sub37 to add an eerie chill to the already cynical song protesting at the commercialisation of Christmas. The lyricist was Peter Sinfield who later wrote the words to BUCKS FIZZ’s No1 ‘The Land Of Make Believe’ which warned against the evils of Thatcherism.

Available on the CIRCUIT 3 single ‘I Believe In Father Christmas’ via Diode Records

http://www.circuit3.com/


WAVESHAPER Walking In The Air (2020)

Written by Howard Blake for the 1982 animated film ‘The Snowman’ which later added a cameo intro by David Bowie, ‘Walking In The Air’ became a hit for Aled Jones although the original version was actually sung by choir boy Peter Auty. Tom Andersson is the Swedish synthesist and retro gamer known as WAVESHAPER and his symphonic instrumental synthwave cover was both respectful and beautiful.

Available as a free download via Soundcloud

https://www.facebook.com/Waveshaperofficial


RODNEY CROMWELL Cold Christmas (2022)

If ACTORS did Christmas songs, then it would have probably sounded like this gothic motorik number from the ever cheerful Rodney Cromwell. Written for by Cherryade Records’ ‘A Very Cherry Christmas’ compilation, its chilling ARP synth strings and driving bass guitar was in total antithesis to Cliff Richard with bleak observational lyrics “like ‘Eleanor Rigby’ turbo-charged for 2022”.

Available on the RODNEY CROMWELL single ‘Cold Christmas’ via Happy Robots Records

https://www.facebook.com/rodneycromwellartist


SOFTWAVE featuring Barney Ashton-Bullock Will It Ever Be Christmas Again? (2022)

Presented as “Probably the first synthpop Christmas song in Danish music history”, SOFTWAVE provided a hopeful message to hold back on overindulgence. ‘Andy Bell Is Torsten’ writer Barney Ashton-Bullock made a cameo as Santa Claus to remind everyone that “Self-service, doesn’t mean self, self, self…” and that joy comes from being able to give to others.

Available on the SOFTWAVE single ‘Will It Ever Be Christmas Again?’ via Softwave

http://www.softwavemusic.com


GEMMA CULLINGFORD In The Bleak Midwinter (2023)

Something of a tradition having covered ‘Walking In The Air’, ‘Lonely This Christmas’ and ‘Deck The Halls’ in previous years, Gemma Cullingford took Christina Rossetti’s poem and Gustav Holst’s musical arrangement of ‘In The Bleak Midwinter’ into darker and colder electro dance territory, reflecting today’s divided world in a cost of living crisis.

Available on the GEMMA CULLINGFORD single ‘In The Bleak Midwinter’ via Elmo Records

https://www.gemmacullingford.co.uk/


A further varied collection of seasonal synth based tunes compiled by ELECTRICITYCLUB.CO.UK can be listened to at: https://open.spotify.com/playlist/7vIIjZkGd3cVOSarUPvX85


Text by Chi Ming Lai
2 December 2023

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